Masterclass F: Conquering the Slush Pile and Crafting Your Story with Diane Evans

Diane Evans – Publishing Director Big Sky Publishing along with, Allison Patterson – Author with Big Sky Publishing and publishing consultant, guide us along the path to publication.

Allison Paterson and Diane Evans

Allison Paterson and Diane Evans

This session was a smooth as they come, the presenters shared valuable information at a good pace and were clearly comfortable in each other’s presence making it a joy to attend.

Big Sky Publishing initially only published nonfiction and books for adults but over the last few years have introduced children’s books.

Diane Evans works across the board of books and all areas of the publishing business within Big Sky Publishing.

Alison Patterson has a teacher-librarian background and uses her knowledge of children to write for children of all ages from picture books to YA.

Big Sky Publishing has a interest in information books with strong messages and links to the Australian curriculum. Diane suggest that authors look for gaps in the market.

It is important for authors to see and position themselves as entrepreneurs.

Ask yourself why your book is different to the ones already on the market but do this right at the beginning.”

This is to save yourself work, if there is already something like it out on the market, it may be worthwhile focusing on another project.

“We are looking for authors to work with us on more than one book.” And from an international perspective are looking for books that can carry a series. Diane prefers authors to pitch her a series with strong selling points, and advises to include the first book and synopses for the next books in the series.

Allison used images from Ronald Dahl’s writing journal to look at where ideas come from. She also spoke about the importance of listening to the kids’ voices of ‘right now’ to find the ‘authenticity of the child’s voice.’

She talked about the importance of embedding fact in your story, even when writing fiction, and when writing historical fiction to stay a as truthful to the facts as you can.

“It is important to create a detailed backstory for you character, so that you know how a child will feel in any given situation.”

Diane stressed that publishers don’t have time to work on proposals with authors any more. A proposal these days needs to be polished and well researched as you usually only get one go at it.

PUBLISHERS WANT TO KNOW WHAT AUTHORS ARE DOING FROM A NETWORKING PERSPECTIVE
Enthusiastic master class delegates learning the secrets to publication success

Enthusiastic master class delegates learning the secrets to publication success

Big Sky Publishing expects authors to do a lot of their own social media, do school visits and more. Publishers want to know what authors are doing from a networking perspective. It is important as an author to know what your strength is and to leverage it.

Phew. That was a lot to take in, but so invaluable. I can’t thank Diane and Allison enough for this session.

by Yvonne Mes

#SCBWISyd


Masterclass: E How to Hook and Keep Your Reader with Humour with Mira Reisberg

At Mira Reisberg’s keynote presentation at the beginning of the SCBWI Conference 2019 she said a lot of things that were not only true but also inspirational but one piece of advice stuck with me especially – always read picture books (or any kidlit book really) twice. The first time for pleasure and the second time for analysis. When you do this you will discover quickly what works and why.

Images of Mira’s Keynote presentation courtesy of Liz Anelli

Images of Mira’s Keynote presentation courtesy of Liz Anelli

A fantastic example for this is humour in picture books or middle grade. Fun and humour, if delivered well, will always make a manuscript better. In her masterclass Mira firstly separated the audience in picture books and MA analysists of humour.

Techniques considered to help induce humour to your writing (or illustrating) are:

- Anthromorphism (eg. A friendly duck doctor)

- Personification

- Dark humour

- Self-deprecating humour

- Irony/ sarcasm

- Hyperbole/ exaggeration

- Contradiction

- Incongruity or surrealism (talking fridge)

- Slapstick/ physical humour (slipping on a banana peel)

- Gross/ potty humour

- Contrast characters

- Parody

- Joke telling

- Mashups

- Surprise/ defiant humour

- Wordplay

- Visual humour

For full details on Mira’s presentation and a copy of the slideshow, click on this link, here.

Attendants were then asked to join an exercise by coming up with or using one of their own texts paragraphs and include the word “no!” as much as possible as an example of exaggerated humour.

Kids love when something they are faced with on a daily basis is incorporated and played with in texts. It hooks them in. The results were fascinating – loveable silly and funny texts that gave the original text a whole different, humorous approach.

Mira Masterclass.jpg

The next group exercise was a fun play with fear. Attendants were asked to take an everyday stressful or fear-inducing event for kids and change the characters into Halloween genre characters. This character then had to tackle a fearful event and form a story of less than 500 words which showed the consequences, aftermath or celebration of this event, even including an end with a fun twist. This exercise was supported with a worksheet that introduced certain elements with the help of columns in a very structured way.

As an illustrator, I really enjoyed the exercise for introducing visual humour to a graphic novel excerpt. I chose contradiction as means to add humour and came up with the character of “King Ivan Important” – a tiny king who wants to be as significant as his big wife, the queen. In order to achieve this he buys himself a very long-legged horse and appears quite big now. Very much to the dismay of the queen who starts plotting against him. The play of contradiction between power and tiny body size could be very appealing in a children’s story. (Indeed! Can’t wait to see / read this one, Katrin. Ed.)

Mira's Masterclass Katrin.jpg

Attendants left this brilliant masterclass with a suitcase full of new ideas and worksheet material as well as Mira’s detailed slides.

by Katrin Dreiling

#SCBWISyd













Masterclass D: Picture Books with Essie White

Storm Literary agent/partner Essie White is passionate about creating beautiful and meaningful books for children. Her passion started as an educator when she learnt that providing children with exceptional literature was imperative in education.

Five years ago, Essie made the seamless transition from educator to agent – both careers harbour a true love for children’s literature.

YOU NEED GRAB CHILDREN’S ATTENTION FROM THE VERY BEGINNING
Essie White MC D (1).JPG

Essie’s masterclass was generous and thorough providing all participants with important takeaways.

  • Title – make it good and alert the reader to the concept. The title must also set the tone, introduce the character and setting.

  • First sentence – make it better than the title. It must snag attention and hold it immediately.

  • Narrative Arc – start with a great plot and begin with a ‘bang’. Immediately alert the reader to the crisis and establish the character’s motivation. Motivation drives the story forward. The protagonist responds to the crisis or cause which results in ACTION. The Protagonist then overcomes!

  • Create a satisfying ending – bring the story full circle. It must also resonate deeply.

  • Unforgettable Characters – ensure they are fully developed and they are authentic, memorable and create merchandising opportunities.

  • Language and word choice – Be selective – 500 to 750 words or less. Non-Fiction can be longer.

  • Verbs – Vivid, Active, and Visual!

  • Cadence – rising and falling of voice.

  • Convey emotion – be authentic to the character

  • Avoid rhyme (it does work occasionally).

Essie outlined some Universal Themes in picture books.:

  • Firsts: First day of school, first pet, first birthday, first unicorn costume!

  • Momentous Events: New baby, new pet, Doctor visit etc.

  • Relationships: Parents, siblings, grandparents, neighbours, teachers, community members

  • Animals and more!

A GOOD BOOK EMPOWERS AND GIVES PURPOSE, IT KEEPS KIDS THINKING.

The necessary collaboration between author and illustrator

Author

  1. Provide illustration notes but give artist room to breathe

  2. Share research/background info

  3. Offer feedback on sketches (when asked)

Illustrator

  1. Do your research (especially non-fiction)

  2. Accuracy is imperative

  3. Be selective

  4. Sometimes your vision needs to be flexible.

Illustrations should:

  • Help children understand what they are reading.

  • They should enhance the text and move the narrative forward.

  • Stimulate imagination and allow children to analyse.

  • Help create the mood of the story.

  • Must have storytelling capabilities and establish the primary character…especially in wordless picture books (very popular in the US right now).

Essie also spoke about the use of shapes and colours to create mood and feelings in illustrations.

  • Yellow – hope

  • Red – anger

  • Blue – calm

  • Grey – gloom

  • Circle – warmth, completeness, wholesome

  • Rectangles – ridgity, inflexibility, enclosed

  • Triangles – Hierarchy, power, strong, solidarity, substantive

Click on the video for a visual snapshot of the session by Roving Reporter, Giuseppe Poli.

Essie’s final message was so important.

The goal of picture books should be to:

Provide a beautiful experience that leaves the reader impacted, empowered, challenged and changed. Good children’s literature is transformative!

by Rachel Noble

#SCBWISyd